Dancehouse stands on what always was and always will be Aboriginal land. We pay our respects to the traditional owners of this land, the Wurundjeri peoples of the Kulin Nation, to their Elders past and present, and acknowledge that sovereignty was never ceded.

Dance (Lens) — Out of Line

Feras Shaheen

'Heavy' (2022), Rainbow Chan. Image shot by Alexander Leeway.

On Demand (13—31 July): $35.34

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Feras Shaheen selects films with the intention to blur the borders of what is considered ‘dance’. Dance as storytelling, dance as an exhibition, dance as empowerment. Out of Line seeks to highlight dance as a fundamental tenet of humanity, a tool of unification.

The selected films use a blend of non-linear and linear forms of editing to create an experience independent to the way we interact with live performance. The post-production purposely shifts perceptions of the subject’s movement and actively questions the importance of clear narrative, especially when paired with a short duration. These films dig deep into the relationship between sound and image.

Out of Line centres on the untraditional, paying close attention to those who operate in the periphery.

Kiss (2021), by Jacob Sutton

A first kiss is never easy. A film featuring Mr Kriss.

Director: Jacob Sutton
Featuring: Mr Kriss & Regina Bakeeva

Window (2023), by Subversus

Perspectives shift when lenses tilt. Playing with physical and metaphysical concepts of perspective, featuring spoken word from A.Girl, choreography by Sela Vai and score by Mo Aung.

‘Window’ was created as part of the Latitudes film series. Traversing movement, music, and art, Latitudes weaves together artistic commissions by artists from the underrepresented Western Sydney region in dynamic short films that explore themes central to the Western Sydney experience through objects in the Powerhouse Museum’s collection.

This film was created and filmed on Darug, D’harawal, Gadigal and Wiradjuri Country. The creators of this film acknowledge the Traditional Custodians of the land and their continuous connection to Country, community and storytelling. We pay respect to Elders past and present and extend that respect to all Aboriginal and Torres Strait Islander cultures.

Words by A.Girl
Music by Mo Aung Choreography by Sela Vai
Commissioned by Powerhouse
Directed by VERSUS (Tanya Babic & Jason Sukadana)
Featuring: A.Girl Sela Vai

Thanks to our location partners: Blacktown City Council, Blacktown Netball Courts and Plantbank Mt Annan

Special thanks to: Panavision Australia, Ayeesha Ash, Campbell Bickerstaff, Damian McDonald, Stella Palmer and Ramona Telecican

Goal (2023), by Bear Damen

Roused by ambition, two men face the price of their prize. They race side by side and yet are mentally miles away. The game is not over, it’s a tie…

“The tie so sorrowful that you wear and that adorns you oh civilized one take it off if you wish to breathe” – Guillaume Apollinaire

Director: Bear Damen
Choreography: Mathilde Gilhet in collaboration with the performers
Featuring: Simon Bus and Roy Overdijk
A very special thanks to: Young Marco, Cinesupply, Het Raam, Jacqueline Bourgeas, Isabelle Bals

Complex Beats (2021), by Jacob Sutton & Mr Kriss

Mr Kriss builds his own beats.

Director: Jacob Sutton
Featuring: Mr Kriss

Produced by Art Partner

Heavy (2022) by Rainbow Chan

Set in a technicoloured retro-futuristic labyrinth, a woman is haunted by the memory of her ex-lover.

The song Heavy 沉重 is a poignant anthem of longing, departure, and closure. Through choreography, design and performance the clip explores a love past, and an intergalactic journey through memory and time. I also wanted to explore the concept of evolution and transformation after heartbreak.

Music: Rainbow Chan
Anita Lee
Producers: Anita Lee and Michaela Le
Choreographer: Amy Zhang
Cast: Rainbow Chan, Sho Yoneya, Amy Zhang and Jennifer Poon

Banqiao Rooftop, Still Space (2023) by Julius Hulshof

Body and ball on a green rooftop in Banqiao District, New Taipei.

Banqiao Rooftop, Still Space portrays the elusive interaction between body and ball in a liminal space. It is an explorative work attempting to capture paradoxical feelings of tensity and release, felt through movement on the green roof surface.

Filmed in New Taipei, in December 2022.

Directed and performed by Julius Hulshof
Shot by Sun Chingyen
Music and sound: Margo Proxy
Graphics and title design: Dias Aubakirov
Edit: Julius Hulshof

Louis Vuitton – Virgil Abloh Tribute (2021), by Jacob Sutton

Director: Jacob Sutton

Coming Home (2022), by Naim Naif & Margot Bowman

Coming Home is an intimate portrait of Freedom Dabka Group, a group of Palestinian-American performers who use the traditional Dabka dance as a means to connect to their community, their culture, and each other. Shot on 16mm under the unique constraints of 2020-21 featuring archive photography from The Palestinian Museum.

Written & Directed by Naim Naif & Margot Bowman
Produced by Meghan Doherty
Production Company: Portal NY
Music Director: Gisela Fullà Silvestre

Featuring archive photography from The Palestinian Museum Digital Archive

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Feras Shaheen is an artist curious in letting his conceptual interests lead him across a variety of mediums. Using choreography, installations, visual art, film, performance, digital media, and street dance to communicate his ideas, the core of Feras’ practice is to connect and engage audiences. Holding a Bachelor of Design from Western Sydney University (2014), Feras often subverts traditional relationships between mediums to challenge audiences’ perspectives.

Born in Dubai to Palestinian parents, and moving to Western Sydney at age 11, Feras uses his practice as a way to reflect and examine how he views the world, addressing local and global issues. Winner of The Australian Ballet’s Telstra Emerging Choreographer (TEC) in 2021, Feras has performed and exhibited at Carriageworks, Venice Biennale, Pari, Kampnagel, Campbelltown Arts Centre, and Théâtre de la Ville.

Recent works include ‘Cross Cultures’, ‘Plastic Bag’, ongoing collaboration ‘Klapping’, and ‘Forum Q’. Feras is currently working with Marrugeku’s ‘Jurrungu Ngan-ga’, a collaborative production that addresses issues regarding the fear of cultural differences.

Dance (Lens) 2023 is supported by the Besen Family Foundation

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